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"What do you talk about with your husband every day?" "I have a cat."
Naruse Mikio explored a post WWII marriage where neither spouse was fulfilled and just treading water in Repast. The film was based on an unfinished book by Hayashi Fumiko with the studio wanting a “happy ending.” Fair warning, a happy ending for 1951 may have a different outlook than 2026.
Michiyo and her husband Hatsunosuke have been married for five years, three of which have been in Osaka. Michiyo misses Tokyo with her family and familiar surroundings and even the chance to work. Her days are a repetitive cycle of cooking, cleaning, and laundry. Her husband works long hours and his most scintillating idea of a conversation starter is “I’m hungry.” When his 20-year-old niece, Satoko, comes to stay with them running away from an unwanted marriage offer, the household is turned upside down. Satoko does what she wants when she wants and Hatsunosuke spends money entertaining her that they don’t have. He is very physically and emotionally affectionate with his niece, something Michiyo does not receive from him. When things finally come to a head, Michiyo escorts his niece back to Tokyo, not knowing if she will ever return home.
Repast showed the daily mindless drudgery so many housewives dealt with following WWII. Michiyo’s life was contained largely within the walls of her house and a few doors down with some neighbors. She’d sold almost anything of value she owned with the exception of her Shamisen. The young cat that visited was her sanity saver. Hatsunosuke’s daily life was no picnic. He worked long hours, but was also able to buy meals out and drink on occasion. The couple had fallen into survival mode, in a relentless, redundant, lifeless existence. Satoko’s entrance shook up the status quo as much as Michiyo’s trip to Tokyo. The big city wasn’t exactly brimming with employment opportunities for men, much less women. And Hatsunosuke discovered that Michiyo wasn’t sitting around eating bon bons at home when he was left to his own devices in the household.
Michiyo and Hatsunosuke were both good people. For 1951 Hatsunosuke was a prize husband. He worked, didn’t run around on Michiyo even when given numerous chances, he wasn’t abusive, and he wasn’t stupid enough to gamble on their future with unsavory business types. Yet somehow the marriage appeared to be more of a business transaction than loving partnership. Michiyo’s sense of isolation and lack of purpose drained her of any joy. Her friends’ envy of her marriage made no sense to her, but then again, she was childless and not living with in-laws or trying to find a job that would provide a living like her single friends. Both spouses had to learn that maybe their lives and places in it weren’t as bad as they thought. Worth a viewing if you are a fan of Naruse or Hara Setsuko.
22 September 2026
Restoration note: The Criterion Channel has restored the film beautifully.
Writer’s note: Screenwriter Tanaka Sumie’s next collaboration with Naruse was a film I enjoyed more—Lightning (1952).
Creepy note: I found the overly tactile relationship between uncle and niece disquieting, especially since Hatsunosuke never tenderly touched Michiyo so it wasn’t like he was generally a physically demonstrative fellow. Maybe he had been with Michiyo at one time as she had married him against her family’s wishes. Regardless, it was a little disturbing.
Michiyo and her husband Hatsunosuke have been married for five years, three of which have been in Osaka. Michiyo misses Tokyo with her family and familiar surroundings and even the chance to work. Her days are a repetitive cycle of cooking, cleaning, and laundry. Her husband works long hours and his most scintillating idea of a conversation starter is “I’m hungry.” When his 20-year-old niece, Satoko, comes to stay with them running away from an unwanted marriage offer, the household is turned upside down. Satoko does what she wants when she wants and Hatsunosuke spends money entertaining her that they don’t have. He is very physically and emotionally affectionate with his niece, something Michiyo does not receive from him. When things finally come to a head, Michiyo escorts his niece back to Tokyo, not knowing if she will ever return home.
Repast showed the daily mindless drudgery so many housewives dealt with following WWII. Michiyo’s life was contained largely within the walls of her house and a few doors down with some neighbors. She’d sold almost anything of value she owned with the exception of her Shamisen. The young cat that visited was her sanity saver. Hatsunosuke’s daily life was no picnic. He worked long hours, but was also able to buy meals out and drink on occasion. The couple had fallen into survival mode, in a relentless, redundant, lifeless existence. Satoko’s entrance shook up the status quo as much as Michiyo’s trip to Tokyo. The big city wasn’t exactly brimming with employment opportunities for men, much less women. And Hatsunosuke discovered that Michiyo wasn’t sitting around eating bon bons at home when he was left to his own devices in the household.
Michiyo and Hatsunosuke were both good people. For 1951 Hatsunosuke was a prize husband. He worked, didn’t run around on Michiyo even when given numerous chances, he wasn’t abusive, and he wasn’t stupid enough to gamble on their future with unsavory business types. Yet somehow the marriage appeared to be more of a business transaction than loving partnership. Michiyo’s sense of isolation and lack of purpose drained her of any joy. Her friends’ envy of her marriage made no sense to her, but then again, she was childless and not living with in-laws or trying to find a job that would provide a living like her single friends. Both spouses had to learn that maybe their lives and places in it weren’t as bad as they thought. Worth a viewing if you are a fan of Naruse or Hara Setsuko.
22 September 2026
Restoration note: The Criterion Channel has restored the film beautifully.
Writer’s note: Screenwriter Tanaka Sumie’s next collaboration with Naruse was a film I enjoyed more—Lightning (1952).
Creepy note: I found the overly tactile relationship between uncle and niece disquieting, especially since Hatsunosuke never tenderly touched Michiyo so it wasn’t like he was generally a physically demonstrative fellow. Maybe he had been with Michiyo at one time as she had married him against her family’s wishes. Regardless, it was a little disturbing.
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